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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no-one else is safe either. Not Katniss's family, not her friends, not the folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises being one of the most discussed books with the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended like a trilogy. Did it really end the best way you planned it from your beginning?
A: Very much so. While I did not know every detail, of course, the arc from the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for a film to be based on The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you simply can't take everything with you. The story has being condensed to fit the new form. Then you have the question of how best to consider the sunday paper told in the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and are privy to any or all of her thoughts so you may need a approach to dramatize her inner world and to produce it feasible for other characters to exist beyond her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of the situation is acceptable over a page that couldn't survive on the screen. But wait, how certain moments are depicted will ultimately be in the director's hands.
Q: Do you believe you're capable to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully which it is too hard to consider new ideas?
A: I've a couple of seeds of ideas boating during my head but--given that much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is once a year televised event by which one boy and something girl from each in the twelve districts is instructed to participate in the fight-to-the-death on live TV. Exactly what do you imagine the selling point of reality television is--to both kids and adults?
A: Well, they're often set up as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they've got very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.
Q: If you were forced to compete within the Hunger Games, what do you think that your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope could be to acquire hold of your rapier if there was clearly one available. But reality is I'd probably get in relation to its a four in Training.
Q: What can you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books may be relevant of their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of the favorite novels when you're a teen?
A: A Tree Grows in Brooklyn by Betty Smith
The Heart Is a Lonely Hunter by Carson McCullers
Nineteen Eighty Four by George Orwell
Anna Karenina by Leo Tolstoy
Slaughterhouse-Five by Kurt Vonnegut
A Wrinkle in Time by Madeleine L’Engle
Lord in the Flies by William Golding
Boris by Jaapter Haar
Germinal by Emile Zola
Dandelion Wine by Ray Bradbury
(Photo © Cap Pryor)
Gr 7 Up–The final installment of Suzanne Collins's trilogy sets Katniss in a more Hunger Game, but this time around it's for world control. While it is often a clever twist about the original plot, it means that there is certainly less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and at her motives and choices. This is definitely an older, wiser, sadder, and incredibly reluctant heroine, torn between revenge and compassion. McCormick captures these conflicts by changing the pitch and pacing of Katniss's voice. Katniss is both a pawn in the rebels as well as the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of every of the main characters. A successful completion of an monumental series.–Edith Ching, University of Maryland, College Parkα(c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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